>Yevgeny Kissin's program:
>
>BEETHOVEN Piano Sonata No. 17 in D minor, Op. 31, No. 2
>SCHUMANN Carnaval: scenes mignonnes sur quatre notes, Op. 9
>BRAHMS Piano Sonata No. 3 in F minor, Op. 5

That is quite a long program!  I suppose he could shorten it by cutting
the repeats.

This brings me onto another question.  When I had to play the Beethoven
Sonata Op.  31 no.  2 in an exam, I was quite amazed at the amount of
contrast that Beethoven got within just 3 movements.  I have tried to
understand how it became the "Tempest", I know from the viva voce part
of the exam that apparently it was some sort of reference to Shakespeare's
play, but it doesn't fit somehow, yes, the beginning of both works have a
'storm' and the ending of the play is rather tranquil as is the coda of the
last movement.  Another suggestion has been the rather stormy (hence the
name) ascending pattern in the first theme in the first movement with the
triplet figures adding extra effect.

Is naming sonatas, concertos etc.  based on one movement justified? Is
it possibly some musicologists' slight laziness in not bothering about
remembering opus numbers? (I might be too cynical here) For instance,
most Beethoven is heavy and 'big', especially for its time, yet only
one piano sonata is named the 'Tempest'.  The last movement of the Piano
Sonata Op. 27 no. 2 (otherwise known because of the first movement) as
the 'Moonlight' is more tempestuous than the first of the Op. 31 no. 2,
in that semiquaver passages played very quickly with a theme in C sharp
minor (or relations) and the arpeggio figures heard again and again (it is
a rondo of course).  Could this not be the 'storm on the lake of beautiful
Lake Lucerne'? Opus numbers or not, it would seem as though most works (if
named) are labelled on the basis of their first movements.

On the other hand the 'Pastoral' sonata Op.  28 has a pastoral theme
running through the entire work.  Constant use of tonic and dominant
creates the rustic effect which makes 'Pastoral' so appropriate.  The
'Les Adieux' Op.  81a is another example.  It should be noted, however,
that this is a Beethoven-coined name and that the 3 movements are linked
because of their historical theme.

Of course, it helps people with less memory banks than others to remember
things I suppose but is this all? I suppose aurally speaking, listeners
find some sections of music emulate certain real-world sounds or phenomena,
perhaps that is the reason, and that it is purely an arbitrary one based
on first-listener impressions that somehow stick?

This might seem a trivial issue and I don't mind people telling me I'm
wrong but pieces' names has been something that's interested me for quite
a long time (ever since I started playing the piano).  I remember when my
Dad played me the Pathetique sonata, I used to ask, "Dad, why is it called
the Pathetique? It's not a bad piece, it's really, really good!  It's not
sad either, or not really." Anyway, I hope I haven't lost too many readers.

Regards,

Clement